jazz

Jazz Visions on the Lake 4

August 6, 2017, 2-6pm
Co-presented by Milwaukee Jazz Vision and Milwaukee World Festival Inc.

Jazz Visions on the Lake is a free, one-day community event that will showcase local jazz musicians at Henry Maier Festival Park. Created in partnership between Milwaukee World Festival, Inc. and Milwaukee Jazz Vision, the afternoon event will give music fans the opportunity to kick back, relax and enjoy the sounds of live jazz along the shores of Lake Michigan. Local food trucks will be present as well as bars featuring MillerCoors and Pepsi products.

Lineup and times:

Scott Napoli Quartet / 2:00pm
Dreamland – The Music of Thelonious Monk / 3:15 pm
Kevin Hayden Band / 4:45

Milwaukee Jazz Vision is an organization of business and music industry professionals, musicians, teachers, students and listeners working together with the goal of advancing jazz music in the Greater Metro-Milwaukee area. The event is also supported by Summerfest Foundation, Inc.

https://summerfest.com/off-season-shows/

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Brian Lynch & Greg Tardy at The Jazz Estate

Presented in collaboration with the Jazz Institute of the Wisconsin Conservatory of Music
Friday, June 30 at 8 PM – 11 PM

We are pleased to welcome Grammy Award Winner Brian Lynch and saxophonist Greg Tardy to the Estate Stage. They will be backed up by Milwaukee’s own Mark Davis, Jeff Hamman, and Dave Bayles.

$15 Door Charge

Limited Front Row Reserved Tables: http://lynchtardy.brownpapertickets.com/
Sales start 7/3/17 12pm

Grammy© Award Winning trumpeter Brian Lynch brings to his music an unparalleled depth and breadth of experience. A honored graduate of two of the jazz world’s most distinguished academies, Art Blakey and the Jazz Messengers and the Horace Silver Quintet, he received wide acclaim during his long tenures with Latin Jazz legend Eddie Palmieri and straight ahead master Phil Woods. He has been a valued collaborator with jazz artists such as Benny Golson, Toshiko Akiyoshi, and Charles McPherson; Latin music icons as diverse as Hector LaVoe and Lila Downs; and pop luminaries such as Prince. As a bandleader and recording artist he has released over 20 critically acclaimed CDs featuring his distinctive composing and arranging, and has toured the world at the helm of various ensembles reflecting the wide sweep of his music.

Greg Tardy Tenor saxophonist, who has released albums for the record labels SteepleChase Records, J Curve Records, and Impulse! Records. He has played with Elvin Jones, Avishai Cohen, Aaron Goldberg, Brad Mehldau, and Joshua Redman, among others. Tardy studied classical clarinet as a child, encouraged by his parents, both of whom were opera singers. His mother, Jo Anne Tardy, after singing classical music became a gospel-influenced jazz singer. After switching to tenor saxophone, Tardy played with funk bands in Milwaukee before his brother urged him to listen to jazz, after which he was especially influenced by John Coltrane’s recordings. He studied at the Wisconsin Conservatory of Music and at the University of New Orleans, along the way encountering Ellis Marsalis who became tutor and mentor. Resident in New York City from 1992, Tardy became deeply involved in the contemporary jazz and improvised music scenes. Among musicians with whom he has played are Rashied Ali, Omer Avitel, Jonathan Blake, Betty Carter, Steve Coleman, George Colligan, Ravi Coltrane, Sean Conly, Xavier Davis, Dave Douglas, Bill Frisell, Aaron Goldberg, Russell Gunn, Eric Harland, Tom Harrell, Antonio Hart, Andrew Hill, Elvin Jones, Joe Lovano, Ellis Marsalis, Jason Marsalis, Wynton Marsalis, Jay McShann, Mulgrew Miller, James Moody, John Patitucci, Nicholas Payton, Chris Potter, Dewy Redman, David Schumacher, Mark Turner and Bobby Watson, the latter being cited as an especially important influence.

Preservation Hall Jazz Band at Summerfest

JULY 7 – 10:00 PM @ JOHNSON CONTROLS WORLD SOUND STAGE WITH BLUE MOON AND 88NINE RADIO MILWAUKEE

Tickets Here: http://summerfest.com/artist/preservation-hall-jazz-band

Preservation Hall was founded in 1961 to promote traditional New Orleans jazz in all its authenticity. Legendary players like George Lewis, Sweet Emma Barrett and Kid Thomas Valentine, all rooted in the formative years jazz, were its original stars. That generation is long gone now, yet the hall is still in business and the Preservation Hall Jazz Band continues to tour the world.

Therein lies a paradox: how does an institution based on an early 20th century musical culture prosper in the 21st? When asked that question on the occasion of the Hall’s 50th anniversary, Creative Director Ben Jaffe had a ready answer: “This anniversary is about the next fifty years.”

For Jaffe, 41, this not just a business question: he’s carrying on a family tradition started by his parents, Allan and Sandra Jaffe, who were instrumental in founding the Hall and turning it into an internationally known cultural icon. When Ben took over the operation in 1995, he faced the challenge of keeping it going with a dwindling band of veteran musicians and an aging audience base. His solution has been to inject the touring band with new blood, bringing in some younger players with fresh musical ideas and to form collaborations with groups and musicians from outside the New Orleans tradition. In recent years, the PHJB has performed and recorded with a wide array of musicians, ranging from groups like My Morning Jacket, Tom Waits, Merle Haggard, Pete Seeger, and the Del McCoury Bluegrass Band. The culmination of this collaborative effort was the sellout 50th anniversary concert that the PHJB hosted at Carnegie Hall in January 2012.

This album breaks new ground for Ben and the PHJB: it’s the first time in the history of the band that it has recorded an album made up of entirely original material—most of it composed by Jaffe and members of his group. The album was co-produced by Ben Jaffe and Jim James, leader of My Morning Jacket, and encouraged by songwriters Paul Williams, Dan Wilson and Chris Stapleton, who co-wrote three of the titles with the band. Band members Charlie Gabriel, Rickie Monie, and Clint Maedgen also pitched in on some of the compositions.

Once the material was written and rehearsed, Jim James and his sound engineer Kevin Rattermandrove down from Louisville with a van full of equipment and set it up among the splintery wooden benches and smoky paintings in Preservation Hall. That recording session produced the eleven tracks on this historic album.

Though it was not unheard of in the past for Preservation Hall musicians to compose some of the music they performed—drummer Paul Barbarin wrote “Bourbon Street Parade” and clarinetist George Lewis wrote “Burgundy Street Blues,” for example—this album marks the first time that a substantial body of new music was created by the band and entered the Preservation Hall repertoire. This constitutes a rich lode of fresh material not only for the current members of the touring PHJB, but also for other musicians who play at the hall and may be inspired to pick up on some of these songs. In the heyday of the Jazz Age, New Orleans musicians learned new tunes all the time by listening to what their peers were doing in the dance halls and on their recordings. One of the aims of this album is to stimulate that kind of cross-pollination among today’s New Orleans jazzmen.

Though some traditional jazz purists may be surprised, the broader public will hopefully find this music engaging, enthralling—and irresistibly danceable. No one who hears Jaffe’s funky tuba lines, Joe Lastie’s backbeat drumming and the band’s groove on tunes like “The Darker it Gets” could doubt the group’s traditional New Orleans roots.

On the other hand, Clint Maedgen’s boozy “August Nights,” with it’s haunting tenor sax riffs and sultry muted trumpet work by Mark Braud, is a Tom Waits-like hymn to urban despair that would be at home on any barroom jukebox in the world. The punchy horn-section riffs on “Come With Me” and “That’s It” have a bite and exuberance that recall the Ellington big band sound. “I Think I Love You,” is a pop tune with a Caribbean beat and a smooth, sexy vocal by 80-year-old reedman Charlie Gabriel (with Jim James singing backup).

In addition to Gabriel, Ronell Johnson (“Dear Lord Give Me the Strength,” “Halfway Right, Halfway Wrong”) and Fred Lonzo (“Rattlin’ Bones”) turn in strong vocal performances that underscore the wide variety of talent this band embraces.

In short, “That’s It” is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation. It marks an important milestone in Jaffe’s crusade to carry forward the Hall’s original mission while making it relevant to today’s audiences. For his part, co-producer Jim James is convinced that the PHJB has a future as vibrant as its past: “The music will speak forever,” he says. “Will people stop listening to Beethoven? Will people stop listening to Bob Dylan? Will people stop listening to the Preservation Hall Jazz Band?”

Not if Ben Jaffe can help it. “My parents were never preservationists in any strict sense,” he says. “They simply presented the music the way the old jazzmen wanted to play it. This is the music we want to play today. We’ll continue to do the old standards, along with new material that allows us to be creative and relevant. With this album, I wanted to do something that would challenge us and make us proud.” That’s it.

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Terrence McManus Solo at West End Conservatory

Thursday, July 7th 2016
8pm, $10

West End Conservatory
5500 W Vliet St
Milwaukee, Wisconsin 53208
(414) 502-9378

Terrence McManus, guitar

A native of Brooklyn, New York, guitarist/composer/sound artist Terrence McManus has been called “… one of New York’s latest guitar heroes …” (All About Jazz), and that he has “… hit on an entirely new language.” (Gambit), and “… possesses the goods to impart a significant impact …” (jazzreview.com). Time Out New York calls him a “Texture-minded guitar abstractionist …” and the NY Times times has described him as a “guitarist drawn to abstract texture”.He has performed or recorded with many of the major innovators in contemporary music, including John Zorn, Bill Frisell, Tim Berne, Gerry Hemingway, Mark Dresser, Don Byron, Ellery Eskelin, Herb Robertson, Mark Helias, John Hollenbeck, Ben Monder, Russ Lossing, Randy Peterson, Mat Maneri, Tom Rainey, Michael Sarin, and Marty Ehrlich. He has performed at the Metropolitan Museum of Art, Carnegie Hall, the New York Guitar Festival, Jazz Festival Willisau (Switzerland), Jazzfestival Saalfelden (Austria), the New Orleans Jazz National Historic Park, and the inaugural month at John Zorn’s The Stone. Terrence was featured in the book State of the Axe: Guitar Masters in Photographs and Words, by legendary photographer Ralph Gibson.

Peter Bernstein Trio featuring Larry Goldings, Bill Stewart

Tuesday, April 19, 2016
8:00pm | $20
Tickets: Here

Shank Hall
1434 N Farwell Ave
Milwaukee, WI 53202
(414) 276-7288

Peter Bernstein, guitar
Larry Goldings, organ
Bill Stewart, drums

Guitarist Peter Bernstein, organist Larry Goldings, and drummer Bill Stewart make up one of the best organ jazz trios of the past two decades. The respect the musicians have for one another comes through in the subtle and intricate manner of their musical conversation on stage. Indeed, you can hear them listening to each other. Drawing mainly on jazz standards, and a few original pieces, they re-imagine the organ jazz trio in a quiet, sensual, and grooving presentation.


Jazz guitarist Peter Bernstein (b. 1967, New York City) has been a part of the jazz scene in New York and abroad since 1989. During that time he has participated in over 80 recordings and numerous festival, concert and club performances with musicians from all generations. As a leader, Peter has released nine albums and a DVD, Live at Smoke.

He got his first break while attending the New School when he met the legendary guitarist Jim Hall. Hall asked Peter to participate in his Invitational Concert as part of the 1990 JVC Jazz Festival. The event featured such guitarists as John Scofield and Pat Metheny and was release as Live at Town Hall Vol. 2. by Music Masters. Hall noted that Peter “…has paid attention to the past as well as the future. He is the most impressive guitarist I’ve heard. He plays the best of them all for swing, logic, feel and taste.”

Also in 1990, Peter Bernstein was discovered by alto saxophonist Lou Donaldson and took part in the first of four recordings with him. He was a regular member of his group throughout the 1990s. “Some people just have it.” Donaldson said. “…most of the time you have to teach someone what to do, but Peter knows it all.”

Peter has also enjoyed long musical associations with legendary drummer Jimmy Cobb (Cobb’s Mob), as well as organist Larry Goldings and drummer Bill Stewart as a member of their highly acclaimed trio. The New York Times called them “the best organ trio of the last decade”. Together they recorded a dozen of records, all of which display their distinctive sound, whether exploring the depths of jazz standards or playing their original compositions.

From 1995 through 1997, Peter was a member of Joshua Redman’s band and played on Redman’s Freedom in the Groove CD. He played with Diana Krall’s quartet from 1999 through 2001 and with Dr. Lonnie Smith, the legendary organist who made his debut on the George Benson Cookbook albums. He has also recorded five CDs with organist Melvin Rhyne, known for his association with Wes Montgomery. In addition, Peter has appeared in groups led by Nicholas Payton, Sonny Rollins, Lee Konitz, Tom Harrell, and Eric Alexander.

Current projects include his recent album, Monk, recorded for the newly reactivated Xanadu label. Together with Doug Weiss and Bill Stewart, he put their own spin on the rich legacy of Thelonious Monk.

In September, Bernstein released a solo guitar record, Solo Guitar – Live at Smalls (Smalls Live), an intimate recording that makes you feel like you’re sitting in the front row at Small’s jazz club in New York City.

Woody Herman Jazz Festival featuring Mike Brignola, John Fedchock, Roger Ingram, and Frank Tiberi

Saturday, April 9 at 7:30 PM
Helene Zelazo Center for the Performing Arts
2419 E Kenwood Blvd
Milwaukee, WI 53211

Join us as we close out our 9th Annual Woody Herman Jazz Festival with electrifying performances from the Youth Jazz Ensemble, UWM Jazz Ensemble, and Woody Herman Jazz Orchestra featuring Woody Herman alumni Mike Brignola, John Fedchock, Roger Ingram, and Frank Tiberi.

Tickets: HERE
General – $20 Seniors,
UWM Faculty and Staff – $15
Students and under 18 – $10
Majors – FREE

woody-herman-milano-69

If you are with a band that performs at our workshops on Friday, April 8th, your admission to the concert is also FREE!


After early experience in Chicago with the bands led by Tom Gerun and Harry Sosnik, Woody Herman toured with Gus Arnheim. In 1934, he joined Isham Jones, and when Jones’s group disbanded in 1936 Herman used its leading sidemen as the nucleus for his own orchestra. This band went through a number of changes of personnel, such as the inclusion in 1943 of Chubby Jackson and in 1944 of Neal Hefti, Ralph Burns, Flip Phillips, and Bill Harris (by the mid-1940s, under the name Herman’s Herd, it was internationally famous for the force and originality of its music. Herman reformed the band in 1947, and the distinctive feature of the Second Herd was the group of saxophonists (three tenor and one baritone) who came to be known as the Four Brothers; among the musicians who played in the section were Serge Chaloff, Stan Getz, Zoot Sims, Al Cohn, and Gene Ammons.

After the demise of the Second Herd in 1949, Herman continued to lead bands; these were perhaps less creative, but their consistently high level of musicianship assured his continuing reputation. The Anglo-American Herd, which he organized in 1959, was significant in the history of English Jazz; another of the more distinctive later bands, the Swinging Herd, was formed in 1962 and featured such excellent soloists as Bill Chase, Phil Wilson, and Sal Nistico. Herman broadened his scope in the late 1960s, when he took up soprano saxophone and included young jazz-rock players in his groups. He toured widely in the 1970s, and in the early 1980s held a residency in a club in New Orleans. Thereafter he worked principally on the West Coast, before taking up another residency in the St. Regis Hotel, New York, in 1985. He celebrated his 50th anniversary as bandleader with the formation of a new orchestra in 1986.

Although Herman’s instrumental expertise was considerable, his essential importance was as an organizer. His rare ability to assemble and sustain bands notable for the quality of their musicians grew especially clear in the late years of World War II, when his group consisted of brilliant improvisers whose ensemble playing was exuberant and incisive; Igor Stravinsky was so impressed by its sound that in 1945 he composed his Ebony Concerto for the band. The harmonic procedures of bop influenced Herman’s next orchestra even more deeply, confirming his freedom from the contemporary sectarianism in jazz.

Avishai Cohen Quartet live from the Back Room at Colectivo

Live Jazz Comes to The Back Room!

an evening with the Avishai Cohen Quartet
LIVE @ the BACK ROOM @ Colectivo on Prospect

Saturday, April 30th @ 8:30pm

Avishai Cohen, trumpet
Jason Lindner, piano
Tal Maschiach, bass
Justin Brown, drums

Pre-Sale: Wed. 3/16, 12PM CT – Code: JAZZ
Public On Sale: Fri. 3/18, 12PM CT

http://www.pabsttheater.org/show/avishaicohenquartet2016

“Cohen is a multicultural jazz musician, among whose ancestors is Miles Davis. Like Davis, he can make the trumpet a vehicle for uttering the most poignant human cries.” — Ben Ratliff, The New York Times


For four years running, Cohen has been voted a Rising Star-Trumpet in the DownBeat Critics Poll. Along with leading his Triveni trio with Omer Avital and Nasheet Waits, the trumpeter has been a member of the prestigious SF Jazz Collective for six years. He also records and tours the world with The 3 Cohens Sextet, the hit family band with his sister, clarinetist-saxophonist Anat, and brother, saxophonist Yuval. Declared All About Jazz: “To the ranks of the Heaths of Philadelphia, the Joneses of Detroit and the Marsalises of New Orleans, fans can now add the 3 Cohens of Tel Aviv.”

The trumpeter began performing in public in 1988 at age 10, playing his first solos with a big band and eventually touring with the Young Israeli Philharmonic Orchestra to perform under the likes of maestros Zubin Mehta, Kurt Masur and Kent Nagano. Having worked with Israeli folk and pop artists in his native country and appeared on television early on, Cohen arrived as an experienced professional musician when he took up a full scholarship at Berklee College of Music in Boston. In 1997, the young musician established an international reputation by placing third in the Thelonious Monk Jazz Trumpet Competition. Avishai came of age as a jazz player as part of the fertile scene at the club Smalls in New York’s West Village.

Cohen first recorded for ECM as part of saxophonist Mark Turner’s quartet on Lathe of Heaven, released in September 2014. The trumpeter has performed at the Village Vanguard and beyond with Turner, as well as widely in a band led by pianist Kenny Werner. Cohen has played often in the Mingus Big Band and Mingus Dynasty ensemble, and he has lent his horn to recordings by Anat Cohen, Yuval Cohen and keyboardist Jason Lindner, along with collaborating on stage and in the studio with French-Israeli pop singer Keren Ann. In addition to performing, Cohen was named the Artistic Director of the International Jerusalem Festival in 2015.

Benny Golson and Brian Lynch with We Six

Weasler Auditorium, on the Marquette University Campus
1506 W. Wisconsin Ave.
Milwaukee, WI 53233

For tickets to see Benny Golson, Brian Lynch and We Six on March 18 call 414-276-5760 or purchase online here.

Friday, March 18th, 2016 – 7:30pm

Benny Golson, tenor saxophone
Brian Lynch, trumpet
Eric Jacobson, trumpet
Eric Schoor, tenor saxophone
Paul Silbergleit, guitar
Mark Davis, piano
Jeff Hamann, bass
Dave Bayles, drums


While in high school in Philadelphia, Golson played with several other promising young musicians, including John Coltrane, Red Garland, Jimmy Heath, Percy Heath, Philly Joe Jones, and Red Rodney. After graduating from Howard University, Golson joined Bull Moose Jackson’s rhythm and blues band; Tadd Dameron, whom Golson came to consider the most important influence on his writing, was Jackson’s pianist at the time.

From 1953 to 1959 Golson played with Dameron’s band and then with the bands of Lionel Hampton, Johnny Hodges, Earl Bostic, Dizzy Gillespie, and Art Blakey and the Jazz Messengers with whom he recorded the classic Moanin’ in 1958.

Golson was working with the Lionel Hampton band at the Apollo Theater in Harlem in 1956 when he learned that Clifford Brown, a noted and well-liked jazz trumpeter who had done a stint with him in Dameron’s band, had died in a car accident. Golson was so moved by the event that he composed the threnody “I Remember Clifford”, as a tribute to a fellow musician and friend.

In addition to “I Remember Clifford,” many of Golson’s compositions have become jazz standards. Songs such as “Stablemates,” “Killer Joe,” “Whisper Not,” “Along Came Betty,” and “Are You Real?” have been performed and recorded numerous times by many musicians.

Golson at “Kimball’s” Jazz club, San Francisco, with the Jazztet, July 21, 1985.
From 1959 to 1962 Golson co-led the Jazztet with Art Farmer. Golson then left jazz to concentrate on studio and orchestral work for 12 years. During this time he composed music for such television shows as Ironside, Room 222, M*A*S*H, The Partridge Family and Mission: Impossible. During the mid-1970s Golson returned to jazz playing and recording. In 1982 he re-organized the Jazztet.

In 1995 Golson received the NEA Jazz Masters Award of the National Endowment for the Arts.

Golson made a cameo appearance in the 2004 movie The Terminal, related to his appearance in the A Great Day in Harlem photo; as of 2015, he is one of only two surviving musicians from the photo (the other being Sonny Rollins). As of 2007, he tours regularly.

In October 2007 Golson received the Mellon Living Legend Legacy Award presented by the Mid Atlantic Arts Foundation at a ceremony at the Kennedy Center. Additionally, during the same month, he won the University of Pittsburgh International Academy of Jazz Outstanding Lifetime Achievement Award at the university’s 37th Annual Jazz Concert in the Carnegie Music Hall.

In November 2009, Benny was inducted into the International Academy of Jazz Hall of Fame during a performance at the University of Pittsburgh’s annual jazz seminar and concert.

The Howard University Jazz Studies program created a prestigious award in his honor called the “Benny Golson Jazz Master Award” in 1996. Several distinguished jazz artists have received this award.

MACK AVENUE SUPER BAND FEATURING GARY BURTON, TIA FULLER, SEAN JONES & THE CHRISTIAN MCBRIDE TRIO

Sharon Lynne Wilson Center for the Arts
Tickets: HERE
19805 W. Capitol Dr
Brookfield, WI 53045
Box office: 262-781-9520
Main line: 262-781-9470

Saturday, February 13, 2016
8:00pm 10:00pm

The Mack Avenue Super Band has become synonymous with stellar line-ups consisting of established and up-and-coming jazz artists with pronounced identities and original grooves. This year’s group—Gary Burton; Tia Fuller; Sean Jones; Christian McBride; Christian Sands; Ulysses Owens, Jr.—tops them all! Seven-time Grammy Award-winning vibraphonist Gary Burton has toured and recorded with a who’s who of famous jazz masters. As a member of Beyonce’s all-female band, superb saxophonist Tia Fuller brings her fire and punch, rhythmic freedom and drive, and her youthful twisting of genres. Sean Jones (Jazz At Lincoln Center Orchestra with Wynton Marsalis, Wayne Shorter and Herbie Hancock’s Tribute To Miles tour) plays the trumpet with intense immediacy, hewing to the jazz tradition, but moving the music forward at the same time. The foundation of the Super Band is musical director and bassist Christian McBride with pianist Christian Sands and drummer Ulysses Owens, Jr.